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		<title>日本指彈傳奇－押尾光太郎</title>
		<link>https://lokaguitar.com/%e6%97%a5%e6%9c%ac%e6%8c%87%e5%bd%88%e5%82%b3%e5%a5%87%ef%bc%8d%e6%8a%bc%e5%b0%be%e5%85%89%e5%a4%aa%e9%83%8e/</link>
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		<pubDate>Tue, 03 May 2022 17:38:34 +0000</pubDate>
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					<description><![CDATA[押尾光太郎(Kotaro Oshio)為日本演奏家，亦令很多初學的結他手愛上指彈fingerstyle。本文帶大家認識他的生平，創作，及推介一些他的音樂。]]></description>
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			<h2 class="elementor-heading-title elementor-size-default">日本指彈傳奇－押尾光太郎</h2>		</div>
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			<h1 class="elementor-heading-title elementor-size-default">日本指彈傳奇</h1>		</div>
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				<p>在指彈屆，身價最貴的結他手，應該有三個人。分別是 &#8211; 鄭晟河sunghajung、Tommy Emmanuel和押尾光太郎Kotaro Oshio。不少結他手也因為押尾的原創而掉入指彈坑，特別是wind song, twilight。高中時的我彈結他，也是這幾首曲子而迷上指彈。至今押尾仍然是對我影響最深遠的結他手。<br /><br /></p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">十個關於押尾的小知識</h2>		</div>
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				<p>網上也有很多押尾的資料，整理之前，也分享幾個小重點，讓大家也認識他。</p>
<p>1. 押尾光太郎的演奏會可以全場只有一個人，亦令全場觀眾拍爛手掌。<br>2. 在押尾的演奏會，他只彈了兩個A音，全場便歡呼，因為他準備彈wind song。<br>3. 邀請押尾演出，需要邀請他整個團隊，包括他的燈光師，混音師。所以費用亦相當昂貴。<br>4. 押尾出道前曾以Kotaro&#8217;s record，推出兩張個人專輯。<br>5. 押尾在34歲出道推出第一隻專輯。<br>6. 押尾推出的創作中，最多使用的調弦法是 standard tuning。<br>7. 押尾推出的創作中，最多創作使用的特殊調弦法special tuning是CGDGBD。<br>8. 押尾在2021年，正式開始經營YouTube channel。<br>9. 押尾最常用的結他牌子是GREVEN，單計他的結他價值已過百萬。<br>10. 押尾用的拾音器(Pick Up)是Sunrise S-2+ M-Factory。</p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">生平介紹</h2>		</div>
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				<p><b>押尾光太郎</b>(Kotaro Oshio)（1968年2月1日<span class="useeditintro" title="Template:BLP editintro">－</span>）鋼弦結他手，日本大阪出生。身高183公分。暱稱<b>押尾桑</b>。他的創作被區分到許多領域，如POP、NEW AGE、JAZZ之中，技巧包含了nail-attack、fingerpicking、slap harmonics、precisestrumming。曾受到中川砂人（Isato Nakagawa）、岡崎倫典（Rynten Okazaki）兩位老師的指導，深受美國知名結他手Michael Hedges的影響，本身風格除了具有節奏性之外，也保留了中川砂人的低音及旋律性特色，而創出屬於自己的風格，在日本及其他國家闖出了一片天空。</p><p>押尾在國中二年級時開始學彈結他，學生時代曾經在五つの赤い風船中成員中川砂人(Isato Nakagawa)的結他教室中學習。高中畢業後，一度前往東京居住，除了在專門的音樂學校學習，還參加了岡崎倫典(Rynten Okazaki)的結他教室。在那裏也受到了同是結他演奏家的小松原俊(Shun Komatsubara)的影響. 回到大阪後組建了樂隊，樂隊中押尾光太郎並沒有擔任結他手而是根據樂隊情況不情願地擔任了貝斯手，樂隊解散後隨即開始了自己一人作為結他獨奏家的音樂旅程。</p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">專輯作品</h2>		</div>
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				<p> </p><section id="content-collapsible-block-1" class="mf-section-2 collapsible-block open-block"><ul><li><b>Pre-Debut Album 1[KOTARO OSHIO] </b></li><li><b>Pre-Debut Album2 [Love Strings] </b></li></ul></section><section id="content-collapsible-block-1" class="mf-section-2 collapsible-block open-block"></section><section id="content-collapsible-block-1" class="mf-section-2 collapsible-block open-block"><ul><li><b>Debut Album [STARTING POINT] －</b>發行時間：2002年7月10日<b></b></li><li><b>2nd Album [Dramatic]－</b>發行時間： 2004-04</li><li><b>3rd Album [Be HAPPY]－</b>發行時間：2004年6月23日<b></b></li><li><b>4th Album [Panorama]－</b>發行時間：2005年9月7日<b></b></li><li><b>5th Album [COLOR of LIFE]－</b>發行時間:2006年11月29日</li><li><b>6th Album [Nature Spirit]－</b>發行時間:2008年1月1日</li><li><b>7th Album [You ＆ Me]－</b>發行時間:2008年10月1日<b></b></li><li><b>8th Album [Tussie Mussie]－</b>發行時間:2009年3月11日</li><li><b>9th Album [Eternal Chain]－</b>發行時間:2009年8月5日</li><li><b>10th Album [Hand to Hand]－</b>發行時間：2011年1月12日</li><li><b>11th Album [Reboot＆Collab.]－</b>發行時間：2013年4月24日　</li><li><b>12th Album [Pandora]－</b>發行時間：2014年7月30日　</li><li><b>13th Album [Tussie mussie II 〜loves cinema〜] －</b>發行時間：2015年11月25日　</li><li><b>14th Album [KTR×GTR] －</b>發行時間：2016年11月9日　</li><li><b>15th Album [Encounter] －</b>發行時間：2019年2月20日　</li><li><b>16th Album [Passenger] －</b>發行時間：2020年9月30日　</li></ul></section>					</div>
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				<p>個人而言，最經常聽的專輯，是Starting Point。<br>如果要在當中選三張推介，<br>1) STARTING POINT<br>2) KTR x GTR<br>3) Reboot &amp; Collabo.<br>為甚麼呢？<br>STARTING POINT對我而言是押尾作品的風格定調，這張專輯是他的第一張作品，也是認識他的STARTING POINT。(但是這張spotify沒有…哈哈) 第二張作品Dramatic也不錯。</p>
<p>KTR x GTR 是我對他改觀的一張作品，每一首作品都很有驚喜，很多作品都有估佢唔到的感覺。 Creativetime Ragtime的藍調感、Together的主題曲爆炸感、同級生intro堆靚chord、my best season個groove、同melody超夾、蜃氣樓mirage絕對係我最愛！Moment，Birthday，勿忘草，真係首首驚喜！</p>
<p>Reboot &amp; Collabo. 最特別之處，隻碟分左兩部分，第一部分係reboot，係自己的創作。第二部分，係Collabo，係佢同不同藝人合作，重新演譯左好多經典作品，我自己好鍾意伴奏，聽押尾伴奏，簡直係大開眼屆！不過呢隻碟可能比較難搵。可能因為版權問題，流出的作品不多。</p>					</div>
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				<p>押尾給我的感覺，是能完全發揮舞台的人。從慢歌到快歌，流行曲到爵士藍調，古典到放克，都能夠用用結他表達。不只是曲風，還有樂器，一時扮演結他，一時扮演貝斯，一時扮演鼓手，亦能融合每個角色。押尾有很多作呂品，卻很少有重覆/類似的感覺，即使一枝結他的歌曲也很有獨特性。他已推出了近二十張結他專輯，一直見他突破自己的極限，今年他50多歲，亦能不斷見他在創作上突破，亦是我喜歡他的原因。除了自己的作品，他亦有跟很多不同藝人合作，亦可以他的多變性。押尾陪伴著我的結他路，願他一直這樣作我們的榜樣，帶給樂迷更多好的結他音樂。</p>					</div>
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		<title>首席日本指彈大師－中川砂仁</title>
		<link>https://lokaguitar.com/isato-nakagawa/</link>
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		<dc:creator><![CDATA[lokaguitar]]></dc:creator>
		<pubDate>Sat, 09 Apr 2022 10:29:46 +0000</pubDate>
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		<category><![CDATA[結他手推介]]></category>
		<guid isPermaLink="false">https://lokaguitar.com/?p=9772</guid>

					<description><![CDATA[日本首席指彈演奏家-中川砂仁 Table of Contents 離開 2022年4月7日，日本指彈演奏家-中川砂仁(Isato Nakagawa)在疫情下靜靜的離開了我們。不少指彈愛好者紛紛在不同社交平台悼念一代的指彈經典。他是指彈屆的老前輩，甚至是先驅。特別新一代的結他手會對他感到陌生。即使他離開了，他也留下了很多美麗的創作。這篇文章，讓我們一同認識他，了解他的音樂。 生平 中川砂仁生於1947年，出生於日本大阪。1964年，17歲的中川砂仁開始演奏結他，那時高中的他並不是一心成為指彈演奏家，而是與他的朋友組成了一個民謠組合，練習PETER PAUL &#38;MARY作品。(美國六十年代著名民謠組合)。後來高中畢業後亦加入幾個不同的民謠組合。直到一天他與當時的著名歌手西岡たかし(Nishoka Takashi)相識，並在1967年與他組成了日本民謠組合「五つの赤い風船」。1969年，由於音樂發展方向出現分歧，中川砂仁離開了組合。之後，中川砂仁開始與不同知名歌手演出、錄音，同時他也在自己的結他音樂之路上不斷探索。(可見他當時已有一定實力XD)。1972年，中川與村上律經成了二人組合－律とイサト（律和isato），他們的音樂定位是美國老音樂（美國民謠）。 以下影片為他們演奏PETER PAUL ＆ MARY(PPM)經典民謠作品《500 miles》。如果你PPM的原曲和他們的改編，會發現中川的版本帶有較多結他元素。（演奏年份不明） https://www.youtube.com/watch?v=aMK6AwpfFxo 1973年後，當時26歲的中川砂仁轉以個人活動為中心。1976年，29歲的中川砂仁在日本開設了結他學校，培養了不少結他演奏者。該校於1989年閉校，歷時13年，當時他42歲。 專輯作品 中川砂仁的演奏生涯共發佈約26張專輯。整合不同網站資料後，根據年份排列，專輯如下: 1970-1979年(共7張) 1972 &#8211; 村上律と中川イサト1972 &#8211; フォーク・ギター1973 &#8211; 1970年1973 &#8211; お茶の時間1975 &#8211; 黄昏気分1976 &#8211; 鼻唄とお月さん (HANAUTA TO OSTUKI SAN)1977 &#8211; 1310 1980-1989(共5張) 1981 &#8211; Homespun Music1982 &#8211; ACOUSTIC SERENADE (reissued in 2000)1986 &#8211; あいらんど（ISLAND)1988 &#8211; &#8230;<p class="read-more"> <a class="" href="https://lokaguitar.com/isato-nakagawa/"> <span class="screen-reader-text">首席日本指彈大師－中川砂仁</span> Read More »</a></p>]]></description>
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			<h2 class="elementor-heading-title elementor-size-default">離開</h2>		</div>
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				<p>2022年4月7日，日本指彈演奏家-中川砂仁(Isato Nakagawa)在疫情下靜靜的離開了我們。不少指彈愛好者紛紛在不同社交平台悼念一代的指彈經典。他是指彈屆的老前輩，甚至是先驅。特別新一代的結他手會對他感到陌生。即使他離開了，他也留下了很多美麗的創作。這篇文章，讓我們一同認識他，了解他的音樂。</p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">生平</h2>		</div>
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				<p>中川砂仁生於1947年，出生於日本大阪。1964年，17歲的中川砂仁開始演奏結他，那時高中的他並不是一心成為指彈演奏家，而是與他的朋友組成了一個民謠組合，練習PETER PAUL &amp;MARY作品。(美國六十年代著名民謠組合)。後來高中畢業後亦加入幾個不同的民謠組合。直到一天他與當時的著名歌手西岡たかし(Nishoka Takashi)相識，並在1967年與他組成了日本民謠組合「五つの赤い風船」。<br />1969年，由於音樂發展方向出現分歧，中川砂仁離開了組合。之後，中川砂仁開始與不同知名歌手演出、錄音，同時他也在自己的結他音樂之路上不斷探索。(可見他當時已有一定實力XD)。<br />1972年，中川與村上律經成了二人組合－律とイサト（律和isato），他們的音樂定位是美國老音樂（美國民謠）。</p><p>以下影片為他們演奏PETER PAUL ＆ MARY(PPM)經典民謠作品《500 miles》。如果你PPM的原曲和他們的改編，會發現中川的版本帶有較多結他元素。（演奏年份不明）</p>					</div>
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				<p>1973年後，當時26歲的中川砂仁轉以個人活動為中心。1976年，29歲的中川砂仁在日本開設了結他學校，培養了不少結他演奏者。該校於1989年閉校，歷時13年，當時他42歲。</p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">專輯作品</h2>		</div>
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				<p>中川砂仁的演奏生涯共發佈約26張專輯。整合不同網站資料後，根據年份排列，專輯如下:</p>					</div>
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												<a href="" class="elementor-toggle-title">1970-1979年(共7張)</a>
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					<div id="elementor-tab-content-3681" class="elementor-tab-content elementor-clearfix" data-tab="1" role="tabpanel" aria-labelledby="elementor-tab-title-3681"><p>1972 &#8211; 村上律と中川イサト<br />1972 &#8211; フォーク・ギター<br />1973 &#8211; 1970年<br />1973 &#8211; お茶の時間<br />1975 &#8211; 黄昏気分<br />1976 &#8211; 鼻唄とお月さん (<b>HANAUTA TO OSTUKI SAN)<br /></b>1977 &#8211; 1310</p></div>
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					<div id="elementor-tab-content-3682" class="elementor-tab-content elementor-clearfix" data-tab="2" role="tabpanel" aria-labelledby="elementor-tab-title-3682"><p>1981 &#8211; Homespun Music<br />1982 &#8211; ACOUSTIC SERENADE (reissued in 2000)<br />1986 &#8211; あいらんど（ISLAND)<br />1988 &#8211; AFTER HOURS (with<span class="Apple-converted-space">  </span>JUNJI ARIYAMA)<br />1989 &#8211; CRESCENT MOON (reissued in 2002)</p></div>
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												<a href="" class="elementor-toggle-title">1990-1999(共6張)</a>
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					<div id="elementor-tab-content-3683" class="elementor-tab-content elementor-clearfix" data-tab="3" role="tabpanel" aria-labelledby="elementor-tab-title-3683"><p>1995 &#8211; SHINKIROU NO OUKOKU (reissued in 2002)<br />1996 &#8211; STANDARD (reissued in 2001)<br />1997 &#8211; Dream Catcher<br />1998 &#8211; Footprints<br />1999 &#8211; RETSU AND ISATO<br />1999 &#8211; Rainbow Chaser</p></div>
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												<a href="" class="elementor-toggle-title">2000-2009(共6張)</a>
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					<div id="elementor-tab-content-3684" class="elementor-tab-content elementor-clearfix" data-tab="4" role="tabpanel" aria-labelledby="elementor-tab-title-3684"><p>2001 &#8211; Tree Circle<br />2002 &#8211; Solar Wind<br />2005 &#8211; Real Thing<br />2006 &#8211; Acoustic Paradise<br />2006 &#8211; ANO HI NO KAZE (with Musashino Revue)<br />2007 &#8211; Private Collections<span class="Apple-converted-space"> </span></p></div>
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												<a href="" class="elementor-toggle-title">2010-2019(共2張)</a>
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				<p>有部分為純結他演奏專輯，例如Dream Catcher(1997) , Footprints(1998), Rainbow Chaser(1999), Tree Circle(2001), Solar Wind(2002), Real Thing(2005) , Acoustic Paradise(2006), Sketch(2011), Naturally(2013)。<br />有興趣的可以到各大音樂平台欣賞。</p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">個人風格</h2>		</div>
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				<p>少年時期的中川砂仁熱愛美國民謠，受到PETER PAUL&amp;MARY影響，到後期不斷與知名歌手合作演出、錄音，令中川砂仁更熟悉亞洲音樂，他自己的作品充滿東方的色彩，也可以叫「東方民謠」。他的創作不會非常複雜，有部分他的作品亦是十分前衛例如1997年的Dream Catcher，想想是1997年的亞洲結他純音樂!! 當時也是michael hedges 和preston reed大師的年代，有機會這些歐美大師的作品也會影響到他，但不知道當時這些作品如何傳播。但中川砂仁的音樂也是相當有風味和前衛。 岸部真明、押尾光太郎、下山亮平也是他的學生（學了多久就沒有相關資料），但岸部真明和下山亮平的作品也聽得出中川砂仁的風格對其後的指彈演奏家有一定影響。</p><p>令我最深刻的是中川砂仁他在很早期的創作也使用了大量特殊調弦法，可知他對結他的研究有多獨到，特別是1997年的dream catcher專輯。他最特別是很多創作使用了 DADF#BE tuning，他選用這個tuning是因為這是D69 tuning，特別適合東方色彩的音樂。例如：きつねの嫁入り、風の谷、chikurei 、chotto tropical等等…當然他的創作也有使用很多其他特殊調弦法，這有待大家自行去研究了！</p>					</div>
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			<h2 class="elementor-heading-title elementor-size-default">導賞</h2>		</div>
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				<p>如果大家想多欣賞和聆聽他的音樂，但不知道從何開始。<br />我建議大家可以聽Dream catcher(1997)和Rainbow chaser(1999)兩張專輯，其他我自己最喜愛的是Tree Circle(2001)這張專輯。</p><p> </p>					</div>
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				<p>大家可以自己在spotify，kkbox等等聆聽他的作品。你會發現他的音樂作品很多不同國家的結他手cover，最特意係外國人都會彈!! 所以他的作品世界各地都很多粉絲。可能初次聽會覺得好老土（我自己都係咁），但是聽得多，甚至彈過，你會發現他的結他編曲很有魔力。我自己覺得東方色彩的味道，在結他真的很難彈出來，不是說要彈就彈到，東方色彩的和聲，旋律都是我自己不擅長的領域，希望日後中川砂仁的作品可以帶給我更多啓發。<br />大家也可以觀看他live的concert recording。</p>					</div>
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				<p>有人說，只要一日他的作品還在我們的心中，他就不是真的離開，而加以另一個形式繼續存在。希望藉著這篇文章帶大家去認識他更多。前人有很多經驗值得我們學習，相信帶著他們的經驗，我們能讓指彈更豐富更精彩。</p>					</div>
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		<title>保養結他! 潮濕天氣怎麼辦?教你高cP值的解決方法!</title>
		<link>https://lokaguitar.com/%e4%bf%9d%e9%a4%8a%e7%b5%90%e4%bb%96-%e6%bd%ae%e6%bf%95%e5%a4%a9%e6%b0%a3%e6%80%8e%e9%ba%bc%e8%be%a6%e6%95%99%e4%bd%a0%e9%ab%98cp%e5%80%bc%e7%9a%84%e8%a7%a3%e6%b1%ba%e6%96%b9%e6%b3%95/</link>
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		<dc:creator><![CDATA[lokaguitar]]></dc:creator>
		<pubDate>Fri, 25 Mar 2022 13:54:06 +0000</pubDate>
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					<description><![CDATA[保養結他! 潮濕天氣怎麼辦?高cP值的解決方法 濕度是保養結他極重要的一環，本文希望提供一些高cp值方法，給讀者參考。 相對濕度 濕度是木材是敵人，過乾過濕對於木材都會造成不同的傷害。又到春天了，大家知道香港春天平均濕度是多少嗎？ 大約是相對濕度80-90％。那再問大家最適合結他擺放的濕度是多少嗎？ 是約相對濕度50%。關於木結他的濕度控制，每個國家的做法都是不一樣的。大家要小心別看過一些外國影片的做法，就參考，因為每個國家，每個家/工作室的濕度都是不一樣的。香港是屬於較濕的地方，一般都需要抽濕。有些北方的地區，或者是特別乾的地方，則需要加濕。 濕度對結他的影響 筆者自己曾經都是經歷這個困難。對於彈結他的人，過濕對結他和結他手本身也帶來很多煩惱。 1) 結他調音不穩定，音色也變得更濛。過濕會對木結他結構造成一定程度改變，有時候隔天／一段時間再彈結他，整把結他的調音都會跑掉很多。有時候在家的結他沒有跟調音器，又要整把再調。當然最好就是每次都調一次。但是有時在家，想一拿起結他就彈，但音全跑掉，又要找調音器再調一次。其次濕氣進入木材，亦會影響木的震動，繼而影響木結他的音色。太科學的筆者都唔識，但個人覺得過濕時，音色會變很濛，混濁。 2) 弦距會變高(通常)過濕對木結他結構造成一定程度的改變，也會影響了結他的弦距，春天的結他弦距變高，一來這樣會很影響練習的心情，和彈奏的心情。對彈結他的人，弦距太高，有時覺得結他不好彈，會較沒有心情去練習。覺得結他「好彈」時，你會更想去彈。有時彈難曲子時，也會練得很辛苦。你就會糾結怎麼辦。應該要去setup嗎？去setup一次，又要找工作室問價，有時又要一星期以上，有時更要你等一個月。對於彈結他，一星期不能練琴，已經是很困擾的事。又要抽一天拿琴去，又要抽一天去拿琴回家，也很花時間。春天setup完一次，到秋天較乾時弦距又會變得過低痴fret了。然後你又要再setup一次。其實花費也不少。 3) 琴弦的觸感會變差，換線更密。濕度也會對琴弦造成影響。琴弦通常分為兩種，一是沒有coating的琴弦，二是針對氧化而造的有coating琴弦。濕度對於前者影響很大、琴弦會很多生銹，鐵銹會對fret造成更多損耗。對於後者，就是你的琴弦會更快損耗，就算你的琴弦不生銹，濕度也會影響琴弦的手感，變得「痴立立」，「鞋手」。音色也會變得更快「悶」，失去生氣。 對濕度進行控制後，基本上你可以解決以上三點問題。1）結他調音會更穩定2）弦距也會更穩定3）減慢琴弦老化，更耐彈。 問題是，該如何控制濕度才是最好？ 保養方法 一般人都會放防潮包（最好是抽濕包）。但值得思考的有兩個問題。因為最適合木結他的濕度是50％，放潮包的兩個問題，1）結他存放在哪裡？如果結他是放袋，基本上濕度也可以滲透入袋，也會對結他造成一定影響。2）放幾多抽濕包，才能保持在最佳濕度呢？ 筆者自己也試過放抽濕包，結他都是放袋，其實影響也是有的，只是較慢，在雨天／極潮濕的天氣，其實也極感受到結他受潮影響。其次，當時自己也沒有思考濕度的問題，只是放兩三包，定期更換。有時候放吸濕包也有一些煩惱。第一，會忘記更換。特別有時候用完，又忘記去買，那段空窗期，其實都係照受濕度影響。第二，求其放係其他袋底，有時會穿左，一係抽濕粒粒跌哂出黎，一係抽濕粒變成漿狀後，成「劈」漏出黎，整污穢枝琴同埋結他袋，結他袋內裡，清洗是很麻煩。 所以，用抽濕包較好的使用方法，是放在琴盒中，配合濕度計使用。市面上亦有一些聲稱會調節濕度的抽濕包，本人沒有實測過，所以不在此討論成效。 下部分會提供筆者的建議方法。買抽濕機是一個最正路的解決方法，一般費用$3000-5000HKD。抽濕機的好處就是長遠而言，好處多多。1）所有房內物品也能存放在指定濕度。特別筆者自己房內有很多不同物品。例如書，相機，鏡頭，電腦等等，這些受潮也是非常麻煩。有抽濕機後，所有貴重品也不用擔心。2）抽濕機長遠的費用很低，第一次需要使用一大筆錢去購買，其後電費其實很低，同時亦能減免結他需要不段setup的費用，和setup時間，拿去setup的來回時間。不用擔心結他，精神上也會健康很多。 如果你使用的是8000元以上，或者你擁有幾枝結他，我都建議你最好用抽濕機。 筆者提供的方法也需要一定的費用，大約$1000-$2000左右。若你使用過平的琴，這個預算就點不值得。但如果你使用$8000以上的琴，你花費$8000元買琴，多花費$2000元去保養結他，保養用琴感受和體驗，我覺得也是十分合理和值得。其後你更換結他，也可以繼續使用！我亦會在下文分享我自己的做法。為免影響市場供求，以下方法是開放給vip會員。 若想閱讀，請成為VIP會員。VIP會員登入後就可以閱讀下文。 筆者建議 筆者建議的方法有一定風險，筆者不會負擔任何讀者的風險。最安全的做法，一定係買抽濕機。建議大家買的時候，可以盡量買大d個水箱，因為水箱太細，你要成日倒水，都幾麻煩。另外就係，可以考慮購買二手抽濕機，carousell搜尋抽濕機，你就搵到好多二手抽濕機。因為又新又平的抽濕機唔多，所以我選擇唔公開呢個方法。我自己都叫學生咁做，暫時都無咩大問題，只要唔好買太平，交收時檢查清楚就可以，抽濕機折舊都幾多，而且市場需求少，所以一般都可以以50%-60%的價錢買入抽濕機。 筆者自己選用的是三菱牌mitsubishi抽濕機，水箱容量是25升。購入後可以將濕度設定在50%，抽到50%便會自動休眠，所以抽濕機一般是長開。我自己錄音時和練習時都會關掉，因為我不想抽濕機突然開機抽濕，會有一定噪音。 所以如果你買的是12L，價錢會較便宜，體積亦較小，但你換水的密度就是密一倍。個人經驗，我自己工作室100呎左右，長期密封不開窗，春天時可能一星期左右就要倒一次水。買12L可能三天至四天就要換一次，都幾麻煩。冬天就可能三至四星期才倒一次水。 carousell去買這一部，大約$2000左右，全新大店買要$5000，友和買$4000，carousell一般講價至$2000也可以，當然你講得越平越好。但記得交收時檢查清楚。二手產品有一定風險，想零風險就買一手。但我好多學生都這樣買。我自己都好後悔當初買左一手XD。 最後，這也不是甚麼特別的建議，只是我自己會建議學生這樣做。也不想公開給太多人。$2000解決到，我自己用左第5年了。結他線唔會變得好快，弦距好穩定，唔會成日變高。對於我成日彈結他練結他，我自己覺得cp值很高。兩次setup都$2000，又唔洗每次落雨／極濕時擔心枝結他。買大水箱，有時去個長旅行都唔洗擔心！所以無perfect solution，想又平又達到好效果，真係難d。就是這樣！我自己都唔係專業，建議專業的問番專業人士！這是我自己用了五年的方法，亦覺得十分高cp值。]]></description>
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			<h2 class="elementor-heading-title elementor-size-default">保養結他! 潮濕天氣怎麼辦?高cP值的解決方法</h2>		</div>
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												<img decoding="async" width="1024" height="576" src="https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-1024x576.png" class="attachment-large size-large" alt="保養結他" srcset="https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-1024x576.png 1024w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-300x169.png 300w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-768x432.png 768w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-1536x864.png 1536w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-600x338.png 600w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-107x60.png 107w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2-160x90.png 160w, https://lokaguitar.com/wp-content/uploads/2022/03/BLOG-Post-2.png 1920w" sizes="(max-width: 1024px) 100vw, 1024px" />														</div>
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				<p>濕度是保養結他極重要的一環，本文希望提供一些高cp值方法，<span style="font-style: inherit;">給讀者參考。</span></p>					</div>
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			<h1 class="elementor-heading-title elementor-size-default">相對濕度</h1>		</div>
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				<p>濕度是木材是敵人，過乾過濕對於木材都會造成不同的傷害。<br />又到春天了，大家知道香港春天平均濕度是多少嗎？ 大約是相對濕度80-90％。<br />那再問大家最適合結他擺放的濕度是多少嗎？ 是約相對濕度50%。<br />關於木結他的濕度控制，每個國家的做法都是不一樣的。大家要小心別看過一些外國影片的做法，就參考，因為每個國家，每個家/工作室的濕度都是不一樣的。<br />香港是屬於較濕的地方，一般都需要抽濕。<br />有些北方的地區，或者是特別乾的地方，則需要加濕。<br /><br /></p>					</div>
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			<h1 class="elementor-heading-title elementor-size-default">濕度對結他的影響</h1>		</div>
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				<p>筆者自己曾經都是經歷這個困難。<br />對於彈結他的人，過濕對結他和結他手本身也帶來很多煩惱。</p><p>1) 結他調音不穩定，音色也變得更濛。<br />過濕會對木結他結構造成一定程度改變，有時候隔天／一段時間再彈結他，整把結他的調音都會跑掉很多。有時候在家的結他沒有跟調音器，又要整把再調。當然最好就是每次都調一次。但是有時在家，想一拿起結他就彈，但音全跑掉，又要找調音器再調一次。其次濕氣進入木材，亦會影響木的震動，繼而影響木結他的音色。太科學的筆者都唔識，但個人覺得過濕時，音色會變很濛，混濁。</p><p>2) 弦距會變高(通常)<br />過濕對木結他結構造成一定程度的改變，也會影響了結他的弦距，春天的結他弦距變高，一來這樣會很影響練習的心情，和彈奏的心情。對彈結他的人，弦距太高，有時覺得結他不好彈，會較沒有心情去練習。覺得結他「好彈」時，你會更想去彈。有時彈難曲子時，也會練得很辛苦。你就會糾結怎麼辦。應該要去setup嗎？去setup一次，又要找工作室問價，有時又要一星期以上，有時更要你等一個月。對於彈結他，一星期不能練琴，已經是很困擾的事。又要抽一天拿琴去，又要抽一天去拿琴回家，也很花時間。<br />春天setup完一次，到秋天較乾時弦距又會變得過低痴fret了。然後你又要再setup一次。<br />其實花費也不少。</p><p>3) 琴弦的觸感會變差，換線更密。<br />濕度也會對琴弦造成影響。琴弦通常分為兩種，一是沒有coating的琴弦，二是針對氧化而造的有coating琴弦。濕度對於前者影響很大、琴弦會很多生銹，鐵銹會對fret造成更多損耗。對於後者，就是你的琴弦會更快損耗，就算你的琴弦不生銹，濕度也會影響琴弦的手感，變得「痴立立」，「鞋手」。音色也會變得更快「悶」，失去生氣。</p><p>對濕度進行控制後，基本上你可以解決以上三點問題。<br />1）結他調音會更穩定<br />2）弦距也會更穩定<br />3）減慢琴弦老化，更耐彈。</p><p>問題是，該如何控制濕度才是最好？</p>					</div>
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			<h1 class="elementor-heading-title elementor-size-default">保養方法</h1>		</div>
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				<p>一般人都會放防潮包（最好是抽濕包）。<br />但值得思考的有兩個問題。<br />因為最適合木結他的濕度是50％，<br />放潮包的兩個問題，<br />1）結他存放在哪裡？如果結他是放袋，基本上濕度也可以滲透入袋，也會對結他造成一定影響。<br />2）放幾多抽濕包，才能保持在最佳濕度呢？</p><p>筆者自己也試過放抽濕包，結他都是放袋，其實影響也是有的，只是較慢，在雨天／極潮濕的天氣，其實也極感受到結他受潮影響。<br />其次，當時自己也沒有思考濕度的問題，只是放兩三包，定期更換。<br />有時候放吸濕包也有一些煩惱。第一，會忘記更換。特別有時候用完，又忘記去買，那段空窗期，其實都係照受濕度影響。第二，求其放係其他袋底，有時會穿左，一係抽濕粒粒跌哂出黎，一係抽濕粒變成漿狀後，成「劈」漏出黎，整污穢枝琴同埋結他袋，結他袋內裡，清洗是很麻煩。</p><p>所以，用抽濕包較好的使用方法，是放在琴盒中，配合濕度計使用。<br />市面上亦有一些聲稱會調節濕度的抽濕包，本人沒有實測過，所以不在此討論成效。</p><p>下部分會提供筆者的建議方法。<br />買抽濕機是一個最正路的解決方法，一般費用$3000-5000HKD。<br />抽濕機的好處就是長遠而言，好處多多。<br />1）所有房內物品也能存放在指定濕度。特別筆者自己房內有很多不同物品。例如書，相機，鏡頭，電腦等等，這些受潮也是非常麻煩。有抽濕機後，所有貴重品也不用擔心。<br />2）抽濕機長遠的費用很低，第一次需要使用一大筆錢去購買，其後電費其實很低，同時亦能減免結他需要不段setup的費用，和setup時間，拿去setup的來回時間。不用擔心結他，精神上也會健康很多。</p><p>如果你使用的是8000元以上，或者你擁有幾枝結他，我都建議你最好用抽濕機。</p>					</div>
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			<h1 class="elementor-heading-title elementor-size-default">咁你有咩高見？</h1>		</div>
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				<p>筆者提供的方法也需要一定的費用，大約$1000-$2000左右。<br />若你使用過平的琴，這個預算就點不值得。<br />但如果你使用$8000以上的琴，你花費$8000元買琴，多花費$2000元去保養結他，<br />保養用琴感受和體驗，我覺得也是十分合理和值得。<br />其後你更換結他，也可以繼續使用！<br />我亦會在下文分享我自己的做法。<br />為免影響市場供求，以下方法是開放給vip會員。</p><p><a href="https://www.lokaguitar.com/pricing">若想閱讀，請成為VIP會員。</a><br /><a href="https://www.lokaguitar.com/login">VIP會員登入後就可以閱讀下文。</a></p>					</div>
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		<title>superband你要認識的三個天才結他手</title>
		<link>https://lokaguitar.com/superband%e4%bd%a0%e8%a6%81%e8%aa%8d%e8%ad%98%e7%9a%84%e4%b8%89%e5%80%8b%e5%a4%a9%e6%89%8d%e7%b5%90%e4%bb%96%e6%89%8b/</link>
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		<dc:creator><![CDATA[lokaguitar]]></dc:creator>
		<pubDate>Tue, 22 Mar 2022 07:57:50 +0000</pubDate>
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		<category><![CDATA[結他手推介]]></category>
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					<description><![CDATA[superband你要認識的三個天才結他手]]></description>
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			<h1 class="elementor-heading-title elementor-size-default"><span data-elementor-setting-key="title" data-pen-placeholder="Type Here..." style="border: 0px; font-size: 2.4285714285714rem; vertical-align: baseline; clear: both; overflow-wrap: break-word;">3個你要認識的</span>superband天才指彈結他手</h1>		</div>
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												<img decoding="async" width="1024" height="525" src="https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-1024x525.jpg" class="attachment-large size-large" alt="" srcset="https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-1024x525.jpg 1024w, https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-300x154.jpg 300w, https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-768x393.jpg 768w, https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-1536x787.jpg 1536w, https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-2048x1049.jpg 2048w, https://lokaguitar.com/wp-content/uploads/2022/03/SUPERBAND-600x307.jpg 600w" sizes="(max-width: 1024px) 100vw, 1024px" />														</div>
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				<p>韓國電視節目SUPERBAND播出後，如有看過的話，木結他粉都會被這隊吸引，<br />這一隊的演出很驚艷，特別他們整體木結他的實力很高。<br />這篇文章帶大家認識一下他們吧。<br />開始之前，大家可以看一看他們演出的片段。</p>					</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img decoding="async" width="670" height="672" src="https://lokaguitar.com/wp-content/uploads/2022/03/任衡彬.png" class="elementor-animation-grow attachment-large size-large" alt="superband" /></figure><div class="elementor-image-box-content"><h2 class="elementor-image-box-title">1.임형빈 LimHyeongbin</h2><p class="elementor-image-box-description">KakaoM旗下PlayM Entertainment練習生<br>2001年3月3日出生<br>韓國蔚山人<br>參加的比賽有：<br>2013 Korean The Guitar King, <br>2015 Coltek Culture Foundation<br><span style="font-style: inherit;">Instagram: @0303_bini</span></p></div></div>		</div>
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				<p>他12歲就拿Guitar King，14歲再拿Coltek。可想他背後對木結他的熱愛和下了多少結他的苦功。<br />RUSH這首曲是他較著名的一首原創曲，雖然聽完有著sungha的影子，但是這是他14歲寫的。<br />這個live的功力，真的是沒話說！</p>					</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img decoding="async" width="638" height="632" src="https://lokaguitar.com/wp-content/uploads/2022/03/leegangho.png" class="elementor-animation-grow attachment-large size-large" alt="leegangho" /></figure><div class="elementor-image-box-content"><h2 class="elementor-image-box-title">2.이강호 leeGangho</h2><p class="elementor-image-box-description">七歲開始彈結他<br>2001年6月出生於韓國首爾<br>於YouTube上不難找到他比賽的精彩片段<br>Instagram: @thisnara</p></div></div>		</div>
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				<p>LeeGangho相比於更活躍於YouTube頻道，他的彈奏風格更沉穩，律動感強。<br />我自己十分喜歡peacock，其中main groove十分動聽!</p>					</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img decoding="async" width="630" height="630" src="https://lokaguitar.com/wp-content/uploads/2022/03/youngsokim.png" class="elementor-animation-grow attachment-large size-large" alt="" /></figure><div class="elementor-image-box-content"><h2 class="elementor-image-box-title">3.이강호 Youngsokim</h2><p class="elementor-image-box-description">2001年10月26日出生<br>superband後一直人氣高企<br>勇奪2019日本Morris FingerstylePicking指彈大賽冠軍<br>instagram: 0.so.kim</p></div></div>		</div>
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				<p>Youngsokim相信很多朋友都認識他，特別是他的原創作品《LIKE A STAR》得到很多結他手的喜愛。<br />Like a star前後的artificial harmonic 和副歌的律動，打動了很多人。</p>					</div>
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				<p>簡單介紹完三位韓國指彈天才後，我自己也震驚，年紀少少彈結他也可以很出色。<br>香港以前一直很強調讀書要入「大學」才有前途，並且不重視藝術教育。<br>隨著社交媒體興起及網上學習，我相信更多年青人可以更早學習到結他，甚至指彈結他。<br>這篇文章不是要高舉神童，音樂背後很重要是靈魂，他們隨了有很優秀的技巧，<span style="font-style: inherit;">結他上表達的訊息也十分豐富。</span></p><p>我相信我們都可以積極的向他們學習。</p>
<p>有甚麼想法都可以在下面留言！</p>					</div>
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				<p>參考網站:</p><p><span style="font-style: inherit;">https://kpop.fandom.com/wiki/Lim_Hyeong_Bin</span></p><p>https://kpop.fandom.com/wiki/Kim_Young_So<span style="font-style: inherit;"><br /></span></p>					</div>
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